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By David Krasner

This significant other presents an unique and authoritative survey of twentieth-century American drama stories, written via the superior students and critics within the box.

  • Balances attention of canonical fabric with dialogue of works by means of formerly marginalized playwrights
  • Includes experiences of prime dramatists, comparable to Tennessee Williams, Arthur Miller, Eugene O'Neill and Gertrude Stein
  • Allows readers to make new hyperlinks among specific performs and playwrights
  • Examines the routine that framed the century, similar to the Harlem Renaissance, lesbian and homosexual drama, and the solo performances of the Nineteen Eighties and Nineteen Nineties
  • Situates American drama inside better discussions approximately American principles and culture

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I envy him,’’ wrote Moody, ‘‘with that kind of envy which between men is the keenest variant of love’’ (209). And in another letter, from 1907, Moody wondered ‘‘how Ibsen ever got the name of a realist. A very debauchee of Romance. And that is really the hold he has over people’’ (341). 16 7. Mark Evans Bryan As a Man Thinks, directed by the author, ran for 128 performances in 1911. Although Thomas’s play is clearly a sexist rebuttal to Crothers’s condemnation of the ‘‘double standard’’ – at one point, in Act 3, A Man’s World is referenced (‘‘that woman dramatist with her play was right .

The villain, Berresford, threatens MacChesney’s gold mine not with force but with immoral business and personal dealings. MacChesney protects her family and her gold mine from Berresford at the expense of her reputation and the play becomes an argument against the nineteenth-century conception of female honor. Although the narrative is unmistakably melodramatic and the conclusion is ultimately conservative, Crothers’s subversion of the familiar form of the frontier melodrama points toward her dramas of the ‘‘double standard’’ for men and women, A Man’s World (1910) and He and She (1911).

Although it follows the life of its exceptional female protagonist – Frank Ware, a novelist and social activist, the mother of an adopted son, Kiddie, and the center of a ‘‘bohemian’’ household of artists in New York City – the parentage of Kiddie is the central question of the drama. Acts 2 and 3 are centered on a debate 14 Mark Evans Bryan within the boarding house: Kiddie resembles Malcolm Gaskell, Frank’s frequent companion, and Lione, who provides the play its title when she questions the efficacy even of attempts at gender equality, is convinced that Malcolm and Frank are the child’s biological parents.

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